mardi 28 janvier 2014

Source Bangalore Mirror by Jayanthi Madhukar
Artist 'Paris' Vishwanadhan will discuss his journey — travelling to gain perspective, and yet, staying true to his roots in his work, at this talk in the city. Iam a vagabond," says Velu Viswanadhan (73) by way of introduction, when we meet ahead of his "illustrated" talk delving into 50 years of art at the National Gallery of Modern Art. He is called "Paris" Viswanadhan, which makes his close friend SG Vasudev laugh. But the name is apt, Vasudev acknowledges of his classmate who chose to work mainly out of Paris.
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Publié par
Herve Perdriolle

dimanche 26 janvier 2014

Source Tasveer Journal
The Tasveer Journal is an online magazine for photography, with a focus on projects relating to the Indian subcontinent. Each week new articles are published with topics ranging from the ‘pioneer’ photographers of second half of the 19th century, to contemporary work being made today. The goal of the The Tasveer Journal is to provide a growing cartography of the history and future of photography in India, Pakistan, Bangladesh and Sri Lanka. Specifically, it will look at how the medium can document, comment and inform our perception and understanding of the world around us, be it in the context of politics, history, culture or art.
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Source Foundation For Indian Contemporary Art
The Ila Dalmia FICA Research Fellowship, instituted by the Foundation for Indian Contemporary Art, with the support of Yashodhara Dalmia aims to encourage research in the field of Indian modern and contemporary art. The grant amount of Rs. 2 lakhs will support a project for a year and an additional sum will be spent towards a public presentation of the project in New Delhi upon completion.
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Source New Indian Express by Ayesha Singh
The India Art Fair is in its sixth edition, but for Neha Kirpal, Founder and Director of the show, it feels just like yesterday, when she was trying to find sponsorships, look for a suitable venue and most importantly, present the best face of art. This year, with Yes Bank being its presenting partner, second year in a row, the fair brings you 91 exhibiting booths and 1,000 contemporary artists. "Last year was a tough year for the art market. This year we hope to ignite the confidence back, from both the buying and selling perspective."
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Source The Indian Express by Pallavi Pundir
In the last few years, Delhi’s culturatti has grown accustomed to experimental art practices, and one of the triggers of this movement is Khoj Studios, an organisation in Khirki Extension. So, when last year’s highly anticipated “Word. Sound. Power” arrived from Tate Modern, London’s single-room showcase, to Khoj’s layered Delhi gallery, the buzz was inevitable. The Tate Modern-Khoj collaborative exhibition comprises eight artists from across the globe, bringing a “universal voice” to the tiny south Delhi neighbourhood.
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Publié par
Herve Perdriolle

mercredi 22 janvier 2014

Source The Hindu by Shailaja Tripathi
Preview in the run-up to the India Art Fair. With 350 works chronicling the history of Indian art, Delhi Art Gallery’s booth should be among the most interesting booths. “I don’t think anybody has ever attempted this earlier at the fair, and because the subject and the scale is such, the gallery is even going to have curated walks within the booth,” says Kirpal. On the other hand, Mumbai-based Gallery Maskara’s booth will be converted into an art installation itself. “This is the centenary year of the First World War and this is going to be our second show revolving around that. The 16 works which are a reflection on war and violence will be housed in a barrack-like environment. The idea is to make it very experiential where the work and the context in which it is viewed are not disjointed,” says Abhay Maskara, who will be at the fair for the fourth time.
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Source Mid-Day by Fatema Pittalwala
Shivaji Nagar in Govandi, Mumbai next to India’s oldest dumping ground, Deonar dumping ground is bustling with activity. French visual artist Georges Rousse and his team of seven artists and photographers from France have come to transform a space and create contemporary art in Shivaji Nagar, as part of an initiative in conjunction with the non-governmental organisation (NGO) Apnalaya, which focuses on building self-sustaining communities to promote art in slums.
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Publié par
Herve Perdriolle

mardi 21 janvier 2014

Source Business World by Kishore Singh
Five years ago the Indian art market collapsed spectacularly. Art funds went rogue. The money chain dried up. It was a bad time for most investment assets but the art balloon whimpered piteously because it had been blown up beyond its capacity and had no ground to stand on — just a few pieces of cloth, some paint, perhaps some “found” materials on which entire fortunes had been built. So, when Christie’s wound up 2013 with a brilliant debut in Mumbai and an auction that added up to a jaw-dropping Rs 97 crore, you couldn’t but help wonder if the tide had turned. Was Indian art back on track? And in Act I, Scene II, would prices and aesthetics compete for eyeballs or be the yin-yang balance that had been missing in 2008.
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mercredi 15 janvier 2014

Source The Hindu by Akila Kannadasan
“Innaiku onnum vikkala!” (I haven’t sold anything today), mutters Kala as she poses for a photo. She frowns at the unsold fish at her stall in Nochikuppam, but laughs as the camera clicks moments later. This is Kala for you — she complains, curses, scowls… but she’s actually laughing all along. She is among the heroines in Nochikuppam Fisherwomen Comics, a photo-comic in Blaft Publications’ The Obliterary Journal Vol 2.
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Source International New York Times by Gayatri Rangaghari Shah
Airports are normally places people want to rush in and out of, but the developers of the new Terminal 2 at Chhatrapati Shivaji International Airport in Mumbai hope to change that. Among the many benefits for flyers coming through Terminal 2 is the opportunity to take in a vast amount of traditional and contemporary Indian art via an ambitious public arts program. There has been some criticism that the art on display is a mish mash, with indigenous arts and crafts rubbing shoulders with cutting-edge contemporary art, but Mr. Sethi dismissed the distinction between lowbrow and highbrow art. “We need to break down this hierarchy of what’s art and what’s craft,” Mr. Sethi said. “The whole idea is that fine art is working with craftspeople and craftspeople are expressing the fine artists in them. Out of those 7,000 items, if you ask me how much was fine art and how much was art, I would say all of it.”
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Publié par
Herve Perdriolle

lundi 13 janvier 2014

Publié par
Herve Perdriolle

dimanche 12 janvier 2014

Source The Asian Age
Imagine the spectacle when a cane sculptural installation captures the human gaze and makes heads turn – this is what Shakuntala Kulkarni’s works did at Art Basel last year and Chemould Prescott, Mumbai this year. At the India Art Fair 2014, Kulkarni’s Head will be part of a specially curated show “Womb to Tomb” by Uma Nair at Art Indus Booth. For a beginning, the sculptural cages that she makes evoke a sense of being and the idea of the life of a woman in troubled times in Nair’s poem “Crushed Hourglass” became the artist’s stimulus for the show.
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Publié par
Herve Perdriolle

samedi 11 janvier 2014

Source Business Line by Amit Mitra
Christie’s is planning to take over 300 modern Indian pieces to three international shows this year, starting with New York, followed by London. The Indian art market is estimated at to be about $400 million. Singh said awareness about Indian art is increasing. “During our previews before the (Mumbai) auction, we registered over 1,000 visitors per day,” she pointed out.
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Source The Hindu by Shailaja Tripathi
With just a few days to go, there is a lot of pending work at the new wing of NGMA, where Subodh will exhibit significant works from the last 20 years of his life. As Subodh gets up to leave, he claims, “Every artist dreams of having a museum show one day in his life and I am having it and this is my achievement. More so because I am showing in my country in front of my people.”
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Source Manifesta
Aptly named, 'Bihar shows the way' is a book published in 1977, that documents the emergence of a political movement that began as a socialist student led insurrection calling for totaly revolution against virtual one party rule of the Indian National Congress since India's independence in 1947. It is a photo-documentary by the renowned photographer Raghu Rai who follows Jai Prakash Narain, as he clamours up support in the eastern state of Bihar during the period of the 'Emergency - 1975 to 1977' - where the basic fundamental rights enshrined in the constitution were suspended . The movement seized political power in 1977 unseating the Congress led by India's first woman Indhira Gandhi. In the two years to follow, a government led by one of India's first coalitions fell apart as the socialists were disunited sharing political space with constituents in the coalition that had clear righ wing agendas. Bihar, witnessed consecutive decades of slow economic growth, erasure of the rule of law, an increase in poverty and a communist gurilla led insurgency boradly termed as Maoists. Probably such anarchy was needed to upturn a strong feudal presence and control of the states economic and political fortunes.
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Publié par
Herve Perdriolle

vendredi 10 janvier 2014

Source Forbes India Art Magazine by Udit Misra
One of india’s best known art collectors, Lekha Poddar, is the head of the jury for the first edition of the Forbes India Art Awards (FIAA) to be held in January. She talks to Udit Misra about art being an investment tool, and the rationale behind FIAA. Excerpts: "Most of the government’s cultural institutions are defunct. Look at the plight of our monuments, archeological sites and museums. The National Gallery of Modern Art (New Delhi, Mumbai, and Bangalore) has hardly any collection of modern Indian art. Major collections of Indian art are in private hands. Few of us, collectors, like Kiran Nadar and I [Devi Art Foundation], have made our collections public. We mount world class exhibitions without any sponsorship or government help. But the footfalls are negligible. And these institutions are recognised worldwide but not in our own country. I hope, with FIAA, the business world comes out in support of Indian contemporary art. In the world over, businesses use art as a soft power. It is our collective duty to educate and empower the next generation with the knowledge of our art, rich heritage and civilisation".
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Source The Hindu by Harshini Vakkalanka
Artist Jyoti Bhatt says rural artists have more spontaneity and ease with art. When he photographs the folk artists in India’s heartlands, he finds them to be contemporary artists who don’t just verbalize and put their art on a pedestal, but live with their art. “Across the villages, people live with art and they are constantly recreating. Though I had art school training for 10 years and have been practising for nearly 50 years, urban painters like me don’t have the ease and spontaneity that they have,” observes the 79-year old artist Jyoti Bhatt, best known for his work in printmaking and his photographs documenting rural art.
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samedi 4 janvier 2014

Source LiveMint by Sanjukta Sharma
I found Bombay even 30 years ago a rather thrillingly and deeply cosmopolitan place. I found that you can sit in one corner of the city and smell five different kinds of cuisine. Add to that the foreigners. It is a city, besides Shanghai, that was extremely generous to European Jews during World War II. The great German philosopher Immanuel Kant, when he was developing his thesis of cosmopolitanism, said in the 18th century that one of the most important ways in which you judge a society is how it treats strangers and the way it gives hospitality.
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This newsletter posted by Hervé Perdriolle in October 2007, tracks the news of the Indian Contemporary Art through an international press review regularly updated.Since 2008 more than 1.800 press articles listed - 145.000 pages viewed.